Say, Allen. 1991. TREE OF CRANES. Boston: Houghton Mifflin Company. ISBN 039552024X.
PLOT SUMMARY
A young Japanese boy arrives home from a morning spent exploring the pond to find his mother folding cranes. She gives him a warm bath and lunch before sending him to bed early, both as a punishment for visiting the pond against her wishes and for fear he has a cold. As the boy lies in bed, he wonders what his mother is doing when he hears her digging in the snow covered garden. Finally, Mama comes back into his room and decorates a small pine tree with the paper cranes and candles. She tells her son about her childhood in California and introduces him to his first Christmas celebration.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
In this beautiful picture book, Allen Say writes and illustrates a unique tale of an American born mother teaching her Japanese son about the peace and love of Christmas. The author draws upon his own family’s experiences of immigrating to America and then eventually returning to Japan. The mother in the story enjoys sharing her Asian Pacific American heritage with her young son.
As in most picture books, the illustrations carry the essence of the story. Say’s muted pictures authentically capture the rural environment of this boy’s home. Both the architecture of the house and the furnishings are uniquely Japanese. The sliding doors and large, wooden bath tub with a lid are sure to interest children. Detailed pictures of the pond, garden, and surrounding area share this country’s landscape with readers.
Say realistically illustrates the clothing and hairstyles of the family. It is interesting to note that while the mother wears traditional Japanese dress and hairstyle, the father returns home from work in a Western suit and tie with a modern haircut. The mix of traditional and modern clothing accurately portrays some people’s clothing choices in Japan.
Thankfully, Say takes great care to accurately portray the physical attributes of his characters. No matter which style of clothing or hairstyle they wear, the boy and his parents’ facial features are realistic. Both skin tone and eye shape are correctly illustrated to dispel negative stereotypes.
Say also shares Japanese culture through the text quite well. References to origami cranes, tea cakes, rice gruel, and a samurai kite give readers insights into traditional foods and activities. A few rituals are included in the story, as well. The mother explains that she is folding a lot of cranes, perhaps two thousand, to make a big wish come true. The pine tree Mama digs up to bring in the house as a Christmas tree was planted on the day the boy was born, so he “would live a long life like the tree.” Understandably, the boy is concerned about his tree, but his mother reassures him that she will replant it in the morning.
Teachers and librarians looking for a high quality Asian Pacific American picture book will be pleased with this selection. Even though the story is set in Japan, the boy’s mother is Asian Pacific American, and her unique explanation of Christmas will enrich any multicultural collection.
REVIEW EXCERPTS
Publishers Weekly writes, “The story is a poignant one, illuminated with finely drawn illustrations reflecting the serenity of a Japanese home and the quiet love between mother and son. Say ( The Bicycle Man ; El Chino ), who came to this country from Japan when he was a teenager, again exhibits a laudable sensitivity to Eastern and Western cultures--and to both the differences and the similarities between them.”
Horn Book raves, “A gift from artist to child that indicates a ripe maturity in both its illustrative and textual elements. Serving as a bridge between American and Japanese cultures, . . . understated and pristine, Tree of Cranes is the achievement of a master in his prime, one of the best picture books of this or any other year.”
Reviews accessed at:
http://www.amazon.com/Tree-Cranes-Allen-Say/dp/039552024X
CONNECTIONS
Other books for children written and illustrated by Allen Say:
EMMA’S RUG. ISBN 0618335234
GRANDFATHER’S JOURNEY. ISBN 0395570352
KAMISHIBAI MAN. ISBN 0618479546
TEA WITH MILK. ISBN 0395904951
THE BICYCLE MAN. ISBN 0395506522
Submitted by Kim
Thursday, July 26, 2007
Review of YANG THE YOUNGEST AND HIS TERRIBLE EAR
Namioka, Lensey. 1992. YANG THE YOUNGEST AND HIS TERRIBLE EAR. Illustrated by Kees de Kiefte. New York: Little, Brown and Company. ISBN 0316597015.
PLOT SUMMARY
Yingtao, also called Fourth Brother by his Chinese family, is the youngest child in his musical family. His older brother and sisters are all accomplished musicians, but Yingtao is tone deaf. No matter how hard he practices, Yingtao will never become a good violinist. As a recent immigrant, his father is trying to recruit more string students by hosting a recital. The finale will be the four Yang children playing in a string quartet, only Yingtao’s terrible pitch is ruining the ensemble. With the help of his best friend and sister, Yingtao concocts a plan to save the performance and possibly show his parents his own true gift in not music.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Lensey Namioka has drawn upon her own childhood memories of living in a musical family. Like Yingtao, Namioka also has a terrible ear. She switched to the oboe to avoid pitch problems. Namioka successfully uses her own Asian Pacific American background to create an accurate and authentic story of adjusting to a new culture and finding one’s gift.
One of Namioka’s primary strengths is her characterization. All of the members of Yingtao’s family are individuals, struggling with their own unique problems as they learn how to be Americans while maintaining their Chinese culture. Particularly touching is the mother, a celebrating pianist in China, who now searches for cost-cutting deals to feed her family while waiting for a piano position to open. Second Sister is also depressed about the move. She was considered popular and beautiful in China, but has trouble connecting to her peers in Seattle. On the other hand, Third Sister easily adjusts to her new American lifestyle. She is the only one to give herself an American name, Mary, and eagerly embraces trendy clothing. Mary also wears an American hairstyle, while her older sister keeps her traditional braids. Even though there are only a few black and white illustrations in this story, de Kiefte is careful to make the members of the Yang family distinct and true to their character descriptions. None of the children appear to be identical, although Yingtao’s features are the most realistic.
Even though the Yang family is learning how to speak English, Namioka does not use any kind of code-switching. The only Chinese words are the characters’ names. When Yingtao encounters an English word or phrase he doesn’t know, he either uses a dictionary to look up its meaning or asks his friends to explain the definition. Most of the difficulties arise from confusing terms like “laid off” or “baby sitting.” Third Sister’s lists of interesting English words help Yingtao learn new phrases, as well. It appears that the family has gained a conversational level of English through immersion, and they do not refer to their surroundings, furnishings, food, or clothing with Chinese names.
The author’s description of cultural values plays a more prominent role in this story. Yingtao frequently explains to his new American friend how important it is to his family that he continues violin lessons, even though he dislikes practicing music. Other children in his class assume he must be a musical genius, presumable since he is Chinese and his parents are musicians. At the conclusion of the story when it becomes apparent that Yingtao will never be a good musician, his family feels sorry for him and gentle breaks the painfully obvious news to him. Yingtao goes along with this act, which allows him time to pursue baseball, an area where he naturally excels. Since his Chinese school was more advanced in mathematics, Yingtao also appears to be a math prodigy, fulfilling another common stereotype. Namioka explains the reason behind Yingtao’s supposed superiority and allows readers to understand that positive stereotypes can also be damaging and just as incorrect.
Namioka has created an authentic view of an immigrant Chinese family adjusting to life in America. Even though Chinese language and terms for food and objects are lacking, the strength of the story lies in the cultural values portrayed by the characters. By contrasting Yingtao’s family with the family of his best friend, Matthew, the author allows readers to understand the differences and the reasons behind them. Ultimately, children realize Asian Pacific Americans are not so different after all.
REVIEW EXCERPTS
School Library Journal writes, “Namioka uses their growing friendship to explore cultural differences and the problems of adjustment to a new society with a light but sure touch. Warm, humorous black-and-white sketches illuminate each character with casual, but astute, perception. Simpler and less incisive than Bette Bao Lord's In the Year of the Boar and Jackie Robinson (HarperCollins, 1984), which is set in an earlier era, this multicultural music and sports story will have a broad appeal for young readers.”
Publishers Weekly comments, “Peppered with wry commentary on the often baffling experience of adapting to a new country and a new language, Beijing-born Namioka's fresh and funny novel serves up a slice of modern, multicultural American life. Her comic timing and deadpan delivery are reminiscent of Betsy Byars, and her book will leave readers begging for more.”
Reviews accessed at: http://www.amazon.com/Yang-Youngest-his-Terrible-Ear/dp/0440409179/ref=pd_bbs_2/102-1567234-0148948?ie=UTF8&s=books&qid=1185499920&sr=8-2
CONNECTIONS
Other books by Lensey Namioka portraying members of the Yang family:
YANG THE ELDEST AND HIS ODD JOBS. Illustrated by Kees de Kiefte. ISBN 0316590118
YANG THE SECOND AND HER SECRET ADMIRERS. Illustrated by Kees de Kiefte. ISBN 0316597317
YANG THE THIRD AND HER IMPOSSIBLE FAMILY. Illustrated by Kees de Kiefte. ISBN 0440412315
Submitted by Kim
PLOT SUMMARY
Yingtao, also called Fourth Brother by his Chinese family, is the youngest child in his musical family. His older brother and sisters are all accomplished musicians, but Yingtao is tone deaf. No matter how hard he practices, Yingtao will never become a good violinist. As a recent immigrant, his father is trying to recruit more string students by hosting a recital. The finale will be the four Yang children playing in a string quartet, only Yingtao’s terrible pitch is ruining the ensemble. With the help of his best friend and sister, Yingtao concocts a plan to save the performance and possibly show his parents his own true gift in not music.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Lensey Namioka has drawn upon her own childhood memories of living in a musical family. Like Yingtao, Namioka also has a terrible ear. She switched to the oboe to avoid pitch problems. Namioka successfully uses her own Asian Pacific American background to create an accurate and authentic story of adjusting to a new culture and finding one’s gift.
One of Namioka’s primary strengths is her characterization. All of the members of Yingtao’s family are individuals, struggling with their own unique problems as they learn how to be Americans while maintaining their Chinese culture. Particularly touching is the mother, a celebrating pianist in China, who now searches for cost-cutting deals to feed her family while waiting for a piano position to open. Second Sister is also depressed about the move. She was considered popular and beautiful in China, but has trouble connecting to her peers in Seattle. On the other hand, Third Sister easily adjusts to her new American lifestyle. She is the only one to give herself an American name, Mary, and eagerly embraces trendy clothing. Mary also wears an American hairstyle, while her older sister keeps her traditional braids. Even though there are only a few black and white illustrations in this story, de Kiefte is careful to make the members of the Yang family distinct and true to their character descriptions. None of the children appear to be identical, although Yingtao’s features are the most realistic.
Even though the Yang family is learning how to speak English, Namioka does not use any kind of code-switching. The only Chinese words are the characters’ names. When Yingtao encounters an English word or phrase he doesn’t know, he either uses a dictionary to look up its meaning or asks his friends to explain the definition. Most of the difficulties arise from confusing terms like “laid off” or “baby sitting.” Third Sister’s lists of interesting English words help Yingtao learn new phrases, as well. It appears that the family has gained a conversational level of English through immersion, and they do not refer to their surroundings, furnishings, food, or clothing with Chinese names.
The author’s description of cultural values plays a more prominent role in this story. Yingtao frequently explains to his new American friend how important it is to his family that he continues violin lessons, even though he dislikes practicing music. Other children in his class assume he must be a musical genius, presumable since he is Chinese and his parents are musicians. At the conclusion of the story when it becomes apparent that Yingtao will never be a good musician, his family feels sorry for him and gentle breaks the painfully obvious news to him. Yingtao goes along with this act, which allows him time to pursue baseball, an area where he naturally excels. Since his Chinese school was more advanced in mathematics, Yingtao also appears to be a math prodigy, fulfilling another common stereotype. Namioka explains the reason behind Yingtao’s supposed superiority and allows readers to understand that positive stereotypes can also be damaging and just as incorrect.
Namioka has created an authentic view of an immigrant Chinese family adjusting to life in America. Even though Chinese language and terms for food and objects are lacking, the strength of the story lies in the cultural values portrayed by the characters. By contrasting Yingtao’s family with the family of his best friend, Matthew, the author allows readers to understand the differences and the reasons behind them. Ultimately, children realize Asian Pacific Americans are not so different after all.
REVIEW EXCERPTS
School Library Journal writes, “Namioka uses their growing friendship to explore cultural differences and the problems of adjustment to a new society with a light but sure touch. Warm, humorous black-and-white sketches illuminate each character with casual, but astute, perception. Simpler and less incisive than Bette Bao Lord's In the Year of the Boar and Jackie Robinson (HarperCollins, 1984), which is set in an earlier era, this multicultural music and sports story will have a broad appeal for young readers.”
Publishers Weekly comments, “Peppered with wry commentary on the often baffling experience of adapting to a new country and a new language, Beijing-born Namioka's fresh and funny novel serves up a slice of modern, multicultural American life. Her comic timing and deadpan delivery are reminiscent of Betsy Byars, and her book will leave readers begging for more.”
Reviews accessed at: http://www.amazon.com/Yang-Youngest-his-Terrible-Ear/dp/0440409179/ref=pd_bbs_2/102-1567234-0148948?ie=UTF8&s=books&qid=1185499920&sr=8-2
CONNECTIONS
Other books by Lensey Namioka portraying members of the Yang family:
YANG THE ELDEST AND HIS ODD JOBS. Illustrated by Kees de Kiefte. ISBN 0316590118
YANG THE SECOND AND HER SECRET ADMIRERS. Illustrated by Kees de Kiefte. ISBN 0316597317
YANG THE THIRD AND HER IMPOSSIBLE FAMILY. Illustrated by Kees de Kiefte. ISBN 0440412315
Submitted by Kim
Review of THE AMAH
Yep, Laurence. 1999. THE AMAH. New York: G. P. Putnam’s Sons. ISBN 0399230408.
PLOT SUMMARY
Ever since her father died, life has been difficult for Amy’s family. In order to make more money, her mother has decided to quit her nighttime cleaning job and take a position as an amah, a Chinese nanny. While her mother is taking care of Miss Stephanie, twelve year old Amy is now responsible for getting her four younger siblings off to school and making sure they finish their homework, eat dinner, and get ready for bed every evening. In addition to struggling with these pressures, Amy also frequently misses her ballet lessons when her mother needs to stay late with Miss Stephanie. Not surprisingly, Amy greatly resents the situation. However, with the help of some understanding friends, she learns to make changes, not only for herself, but also to help others.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Laurence Yep has earned a reputation for creating accurate and authentic stories depicting experiences of Asian Pacific Americans. In this book, he explores the interwoven relationships of amahs, their families, and their charges. Intrigued by family stories of his grandmother’s days as an amah and how it impacted her own children, Yep began researching this practice. Conducting interviews with amahs, the children left at home, and the children raised by amahs, Yep shows dedication as he strives to realistically capture this part of Asian Pacific American life.
Yep’s story rings true on many points, but the characters’ internal struggles are most relevant. Amy, the protagonist, is understandably upset as her mother’s new job causes her to miss her beloved ballet lessons. Forced to baby-sit her rambunctious siblings, Amy’s resentments begin to build. While the reader naturally sides with Amy, Yep does an outstanding job of explaining her mother’s point of view as well. Even though Amy believes she doesn’t care about her feelings or interests, her mother is actually more supportive and caring than her own mother was to her. By sacrificing time with her own children to take care of her charge, Amy’s mother can afford to continue the expensive ballet lessons. Yep’s description of the cultural strife between an American daughter and a Chinese mother is both poignant and eye-opening for the reader.
Even though Amy’s family members are shown to be individuals, each with their own interests, Yep does not spend a great deal of time describing their physical attributes. The reader is aware that Amy is slender and has a dancer’s build, but Yep does not elaborate much on her features. Physical descriptions focus more on body type, such as the fact that her younger brother needs to eat less pizza because he is a little overweight. It is interesting to note that her mother wishes Amy would eat more, because when she was a child, thinness was a sign of poverty in China.
Since the family has been in the United States for awhile, the children are thoroughly American in their language, names, dress, and hobbies. The younger siblings enjoy American comic books and video games. Amy only speaks a little Chinese and she never code-switches. Several of the characters who lived in Hong Kong speak with a British accent. Instead of using Chinese language and terms, Yep reveals the culture of his characters through certain artifacts, rituals, and food. For instance, Amy’s mother has a cherished family heirloom, a teapot, she only uses for special occasions. At the beginning of the story, Amy’s mother uses a personal connection to win her amah position, due to her insider status in the Asian Pacific American community. All the family members enjoy shopping and eating in Chinatown.
Yep has created an authentic story of a young girl torn between her Chinese and American cultures. Her mother expects her to be the dutiful daughter, but Amy stands up to her when she feels her ballet lessons are being sacrificed. Through a difficult financial situation, both Amy and her mother learn how to bridge their cultural differences and communicate better. Yep succeeds in portraying a generation gap common in the Asian Pacific American community.
REVIEW EXCERPTS
School Library Journal writes, “Readers will enjoy the ballet references as they explore the universal feelings of jealousy and relationships. A realistic story of a contemporary Chinese-American family with flaws and strengths.”
Booklist comments, “The strained relationship between Amy and her "old world" mother is one of the strongest elements in this story, which clearly delineates the sort of struggle that can occur between generations in an immigrant family as well as what it feels like to be an outsider, even in your own home. A solid read.”
Reviews accessed at: http://www.amazon.com/Amah-Laurence-Yep/dp/0698118782
CONNECTIONS
Other books portraying the Asian Pacific American experience by Laurence Yep:
DRAGON’S GATE. ISBN 0064404897
DREAM SOUL. ISBN 0064407888
THE MAGIC PAINTBRUSH. ISBN 0064408523
THE STAR FISHER. ISBN 0140360034
WHEN THE CIRCUS CAME TO TOWN. ISBN 0064409651
Submitted by Kim
PLOT SUMMARY
Ever since her father died, life has been difficult for Amy’s family. In order to make more money, her mother has decided to quit her nighttime cleaning job and take a position as an amah, a Chinese nanny. While her mother is taking care of Miss Stephanie, twelve year old Amy is now responsible for getting her four younger siblings off to school and making sure they finish their homework, eat dinner, and get ready for bed every evening. In addition to struggling with these pressures, Amy also frequently misses her ballet lessons when her mother needs to stay late with Miss Stephanie. Not surprisingly, Amy greatly resents the situation. However, with the help of some understanding friends, she learns to make changes, not only for herself, but also to help others.
CRITICAL ANALYSIS (INCLUDING CULTURAL MARKERS)
Laurence Yep has earned a reputation for creating accurate and authentic stories depicting experiences of Asian Pacific Americans. In this book, he explores the interwoven relationships of amahs, their families, and their charges. Intrigued by family stories of his grandmother’s days as an amah and how it impacted her own children, Yep began researching this practice. Conducting interviews with amahs, the children left at home, and the children raised by amahs, Yep shows dedication as he strives to realistically capture this part of Asian Pacific American life.
Yep’s story rings true on many points, but the characters’ internal struggles are most relevant. Amy, the protagonist, is understandably upset as her mother’s new job causes her to miss her beloved ballet lessons. Forced to baby-sit her rambunctious siblings, Amy’s resentments begin to build. While the reader naturally sides with Amy, Yep does an outstanding job of explaining her mother’s point of view as well. Even though Amy believes she doesn’t care about her feelings or interests, her mother is actually more supportive and caring than her own mother was to her. By sacrificing time with her own children to take care of her charge, Amy’s mother can afford to continue the expensive ballet lessons. Yep’s description of the cultural strife between an American daughter and a Chinese mother is both poignant and eye-opening for the reader.
Even though Amy’s family members are shown to be individuals, each with their own interests, Yep does not spend a great deal of time describing their physical attributes. The reader is aware that Amy is slender and has a dancer’s build, but Yep does not elaborate much on her features. Physical descriptions focus more on body type, such as the fact that her younger brother needs to eat less pizza because he is a little overweight. It is interesting to note that her mother wishes Amy would eat more, because when she was a child, thinness was a sign of poverty in China.
Since the family has been in the United States for awhile, the children are thoroughly American in their language, names, dress, and hobbies. The younger siblings enjoy American comic books and video games. Amy only speaks a little Chinese and she never code-switches. Several of the characters who lived in Hong Kong speak with a British accent. Instead of using Chinese language and terms, Yep reveals the culture of his characters through certain artifacts, rituals, and food. For instance, Amy’s mother has a cherished family heirloom, a teapot, she only uses for special occasions. At the beginning of the story, Amy’s mother uses a personal connection to win her amah position, due to her insider status in the Asian Pacific American community. All the family members enjoy shopping and eating in Chinatown.
Yep has created an authentic story of a young girl torn between her Chinese and American cultures. Her mother expects her to be the dutiful daughter, but Amy stands up to her when she feels her ballet lessons are being sacrificed. Through a difficult financial situation, both Amy and her mother learn how to bridge their cultural differences and communicate better. Yep succeeds in portraying a generation gap common in the Asian Pacific American community.
REVIEW EXCERPTS
School Library Journal writes, “Readers will enjoy the ballet references as they explore the universal feelings of jealousy and relationships. A realistic story of a contemporary Chinese-American family with flaws and strengths.”
Booklist comments, “The strained relationship between Amy and her "old world" mother is one of the strongest elements in this story, which clearly delineates the sort of struggle that can occur between generations in an immigrant family as well as what it feels like to be an outsider, even in your own home. A solid read.”
Reviews accessed at: http://www.amazon.com/Amah-Laurence-Yep/dp/0698118782
CONNECTIONS
Other books portraying the Asian Pacific American experience by Laurence Yep:
DRAGON’S GATE. ISBN 0064404897
DREAM SOUL. ISBN 0064407888
THE MAGIC PAINTBRUSH. ISBN 0064408523
THE STAR FISHER. ISBN 0140360034
WHEN THE CIRCUS CAME TO TOWN. ISBN 0064409651
Submitted by Kim
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